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〈聲音肖像-台灣系列〉 Sound Portrait-Taiwan Series

郭佩奇 Kuo, Pei-Chi

2014,裝置與新媒體,80x248.1x10cm 郭佩奇以輕鬆詼諧的多媒體裝置,詮釋政治與權力矛盾糾結的結構狀態。作品〈聲音肖像-台灣系列〉,她以樂譜拼湊出七位台灣元首的肖像,樂譜寫的是特別挑選的主題曲,例如《國父紀念歌》、《金門之歌》、《我愛中華》、《望春風》、《燒肉粽》等。當影像中的時間軸行進到畫中的人物部分,原本流暢的音樂會成為備受干擾的繁複音群,變成毫無邏輯的吵雜聲音,如同檯面上的政治人物,在看似規則的狀態下又是一個不合理的政治生態。郭佩奇以聲音與影像的巧妙結合,揶揄著權力與政治的荒謬情境。這件作品分成視覺、音樂與意識形態,視覺上是台灣總統的肖像,裝置用模仿古典肖像畫的方式呈現音符排列的圖案;背景音樂是郭佩奇透過音樂文化研究在每一位元首的畫像背景譜寫符合每位人物身分的音樂,有些是任職期間的流行音樂,有些是反映元首生平的音樂,有些是軍歌或當時的禁歌。曲目的選擇是曾經朗朗上口的音樂,選曲的意義是她對每一位元首所推衍的意識形態,連樂器都是搭配挑選,符合樂曲呈現的感覺,試圖喚起大眾曾經存在過的歷史與集體記憶。 Kuo Pei-Chi’s humorous and light-hearted multi-media installations are her interpretation of the contradictions in and the intertwinement between politics and power. In Sound Portrait-Taiwan Series, she pieces together seven Taiwanese leaders’ portraits from music sheets. On each of the sheets is a theme song she handpicked for that political figure, such as In Memory of the Founding Father of China, The Song of Kinmen, I Love China, Craving for the Spring Wind, and Hot Zongzi. As the videos come to the part where the figures emerge, what has been playing as smooth music becomes hectic, much-disturbed collections of sounds. The logicless noises are just like the unreasonable political landscape hidden behind the seeming lack of irregularity among politicians as public figures. The artist has cleverly combined music and images to make fun of the absurdity of power and politics. The piece can be viewed from the perspectives of the visual, the musical, and the ideological. Visually one sees Taiwanese presidents portrayed in a style akin to classic portraits, albeit painted with music notes. Music-wise, Kuo did a cultural study of music to write matching background music for each leader’s portrait: some of the songs were popular when they were in office, some reflect their life stories, and some were war songs or were banned by the government. Based on the ideologies she associates with the heads of the state, she selected songs once well-known to Taiwanese people and performed them on matching music instruments, in an attempt to evoke her audience’s collective memory about the history that existed.